A Quote by Al Yankovic
I've always known that if I recorded an album, it would come out, and people would enjoy it! Whereas if I wrote a movie script, chances are better than even that I'd just be another guy in L.A. with a movie script in his drawer.
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A script is just a script. A good script can be a bad movie, so easily. It's the process that makes it good. You need a good script, don't get me wrong, but you need all those other things to make a good movie. You really do.
There are people I'm drawn to that you just can't do a tiny, no-budget movie with. I would like to pursue some of that stuff, to see if I could do a movie with some of those people. And I don't really write scripts myself, but if I read a script I thought was really great, I would totally be up for doing a more traditional movie. It's just that I don't exist in that world.
right now.
The woman who wrote the movie [Ladies And Gentlemen, The Fabulous Stains], her name is Nancy Dowd. She's a wonderful writer. She wrote Coming Home. And when I read the script, at that time, I thought, "This movie is going to do for girls what Breaking Away did for boys." I thought it was going to be huge. It was a great script.
We like to create an atmosphere where people can try whatever they want and experiment. But ultimately people tend to fall on the script and there isn't a ton of improvisation. There certainly are some improvised moments and we encourage that. If it's better than what we wrote it'll be in the movie and if not, it's out.
Whenever I'm doing any film, there's always three different things. There's the script, which is really just a blueprint. And then, you shoot the movie and it's an entirely different experience than you would expect from reading the script. And then, there's the whole post process and the editing, and it becomes something else entirely.
I think Memento movie was hard because people didn't get it, they just didn't understand it. Not from the stage when we read the script and liked it. It's sort of a famous story now how we finished the movie and showed it to distributors and nobody wanted it. So it wasn't just they didn't get the script, they really didn't even understand the movie when it was done. But I think that was a particularly hard one. I don't think it was harder because we were girls, but I do think obviously there are particular challenges to working in a male-dominated industry.
If I've got a script, you think I'll go to Hollywood to get money? I was bored with the people around me, so I just created my own movie, my own character. I'm the story of my own movie, and you know what? My movie is going to be better.
I will always choose to work in a movie based on whether I would want to watch it - if I would be willing to spend money in a theatre on it. The script and the people you will work with come after that.
I did some writing for that movie. The remake of Planet of the Apes. I didn't write the script. But I wrote some lines that they ended up... not using. ... I wrote one line. I thought it would've been perfect. I don't know if anyone saw the movie. It's the scene where the ape general comes in. And they're trying to decide if they should attack right there, or wait until a little later. And I wrote: "Man these bananas are good!" But they didn't use it. I did all of that research.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
People always say, "What do you want to do next, what kind of movie do you want to do next?" And I say, "I wanna do whatever script that is the best one that comes my way." I certainly would never say, "Oh, I'm gonna do a Western next," and sit around waitin' for a Western to come along when there's some other genre's brilliant script sitting right there.
There was a thing in the Andy Kaufman movie that Jim Carrey [Man On The Moon] about how he would do it. I didn't even see the movie. I read the script. But someone asked me, "Do you know what the best part of the Jim Carrey/Andy Kaufman movie is?" And I said, "me lee see ree bee." I just knew that would be the best part.
I started writing when I was 26, so I don't even know what year that was. I wrote a script for me to star in. A friend of mine, who was an actor that I would compete against a lot, had written a script and was taking all these meetings. He just kept pushing me and was like, "You got to do it. You're going to love it!" He's a very successful screenwriter now. His name is Michael Bacall and he wrote 21 Jump Street, Project X, and Scott Pilgrim vs. the World. So it was a few factors.
I would love to do another hockey movie. There are a lot of people in Hollywood looking for the right hockey script.
I tried to buy the script of 'Hancock.' I loved it. The script was far darker and edgier than the movie.
You have to accept that the moment you hand a script to a director, even if you've written it as an original script, it becomes his or her movie. That's the way it has to be because the pressures on a director are so staggering and overwhelming that if he or she doesn't have that sort of level of decision making ability, that sort of free reign, the movie simply won't get done. It won't have a vision behind it. It may not be your vision as a screenwriter, but at least it will have a vision.
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